![]() And it made all the difference in the song.” In another interview with NME Magazine, Hall also stated: “We try and take chances. She said, “drop that shit at the end and go, ‘She’s a maneater,’ and stop! And I said, ‘No, you’re crazy, that’s messed up.'” Then I thought about it, and I realized she was right. So we did that, and I played it for Sara Allen and sang it for her… “Oh here she comes / Watch out boy she’ll chew you up / Oh here she comes / She’s a maneater… and a…” I forget what the last line was. I said, “Well, the chords are interesting, but I think we should change the groove.” I changed it to that Motown kind of groove. In an interview with American Songwriter in 2009, Daryl Hall spoke about the track and its process: “John had written a prototype of “Maneater” he was banging it around with Edgar Winter. “Maneater” was written by Hall & Oates and Sara Allen, and was also produced by Hall & Oates. The next time you find yourself bobbing your head to this Hall & Oates classic, take the time to appreciate the craft behind the catchiness.“Maneater” is the opening track from American duo Hall & Oates’ (Daryl Hall & John Oates) eleventh studio album “H2O”, which was released in 1982. Heck, they even winningly pull off a pun when they describe the title character as “a she-cat tamed by the purr of a Jaguar.”īy the time the “Whoa-Oh, here she comes” refrain kicks in, it’s made all the powerful by the fact that the verses have described this “Maneater” so damn well. “So many have paid to see/What you think you’re getting for free” is a line that’s subtly insightful about both the woman’s predatory nature and the guy’s naiveté. While the slinky groove insinuates its way into your brain, Hall tosses off clever one-liners in that effortlessly soulful voice. And it made all the difference in the song.” She said, ‘Drop that shit in the end and go, ‘She’s a maneater,’ and stop! And I said, ‘No, you’re crazy, that’s messed up.’ Then I thought about it, and I realized she was right. So we did that, and I played it for Sara and sang it for her… ‘Oh here she comes/Watch out boy she’ll chew you up/Oh here she comes/She’s a maneater… and a…’ I forget what the last line was. I said, ‘Well, the chords are interesting, but I think we should change the groove.’ I changed it to that Motown kind of groove. “John had written a prototype of “Maneater ” he was banging it around with Edgar Winter. In a 2009 interview with American Songwriter, Daryl Hall recalled how he and John Oates collaborated on the song with Daryl’s girlfriend Sara Allen: 1982’s “Maneater,” which rocketed to #1, is just one fine example. You can grab just about any of their songs and point out the outstanding qualities within. Meanwhile, their underrated lyrics were heavy on nifty wordplay and unforgettable choruses. ![]() Their hits had hooks on top of hooks, so that they were irresistible whenever they busted out of car radio speakers or boom boxes. What Hall & Oates did just about better of anyone of their generation was master the art of the pop song. Maybe it’s because they weren’t writing deep philosophical treatises or navel-gazing ballads, which often grab all the critical attention. Maybe it’s because they had so much success that it’s easy to take for granted their ability to craft a song. ![]() Yet the songwriting behind the hits of Daryl Hall and John Oates often gets overlooked in discussions about their music, which is a crying shame. They had an amazing streak that ran from 1981 to 1985 which included twelve top 10 hits and five #1 singles.
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